| Duration (mins) | Start Time | Activity | Supporting Tools/Resources |
| 5 | 14:00:00 | Arrivals, Intros, Settling in | Led by Tutor |
| 5 | 14:05:00 | Introduce the activity and encourage participants to start drawing | Worksheets; moulds |
| 10 | 14:10:00 | Share information about the activity as participants draw | Worksheets; moulds |
| 5 | 14:20:00 | Sharing reflections about the activity | Worksheets; moulds |
| 3 | 14:25:00 | Final comments and thank yous | Worksheets; moulds |
| 2 | 14:28:00 | Complete Activity, collect worksheets 10% timing buffer | NA |
The session kicked off with participants arriving, getting comfortable, and receiving a warm welcome from our tutor, Kwame. The workshop was decked out with hand-made moulds, inviting drawing sheets, and art supplies, setting the stage for 20 minutes of dedicated creative exploration. After a quick introduction by myself, we launched into the main activity: mastering the letters ‘O’ and ‘K’ on our grid-lined worksheets. This exercise was the gateway to co-producing modular typography and a step towards creating stunning Acanti-inspired geometric modular tiles (Architectural Digest, 2019).
Our agenda was designed to morph participants from sketching into collaborative mural makers, using bespoke lasercut modular tile moulds. This hands-on experience emphasized learning and thinking through making as a form of epistemology. Participants were encouraged to “flow” allowing outcomes to be “smooth” or “spiky”. Ultimately, the aim was to not be too precious over initial letterforms to encourage iterative design.
Key decisions made and justification
- Choice of letters (‘O’ and ‘K’): We chose ‘O’ and ‘K’ for their simplicity and adaptability in modular forms, making them ideal for our typographic exercises and rich in cultural significance with the universally recognized “OK”. Orr and Shreeve (2017) emphasize the transformative power of signature pedagogies in art and design, a concept mirrored in our approach to teaching the letters ‘O’ and ‘K’, where we prioritize hands-on, creative engagement over verbatim learning.
- Use of a grid template for drawing: The grid ensured consistency and alignment, crucial for later combining individual efforts into a collective mural.
- Interactive and phased learning approach: Starting with individual tasks and gradually shifting to group activities catalysed creativity and collaboration, making the learning process more dynamic.
Description of the session and deviations from the plan: The session unfolded smoothly, with participants engaging deeply with the drawing materials. After the initial sketching phase, we moved to a sharing segment where participants teamed up to form the word ‘OK’, highlighting their favourite designs and sharing positive affirming feedback. Building on the findings of Willcocks and Mahon (2023), our workshop exemplifies how digital tools can transcend traditional educational boundaries, enabling participants to explore modular typography through both physical and virtual modalities, thus enriching the learning experience.
Feedback received and future use: Participant feedback was overwhelmingly positive, with many appreciating the hands-on approach and the structured yet flexible activity format. Interest peaked around how the letterforms would transition into tiles, and questions about technical aspects like clay removal indicated a strong desire to delve deeper into the process. This feedback informed an extended four-hour session I ran following the micro-teaching, where BA students went from sketching their designs to actually creating Acanti tiles for a collective mural. These tiles are presently being filed and we aim to exhibit these in LCC along with the iterative letterform designs for “OK” developed.
Reflections from others’ sessions: Observing other microteaching sessions offered valuable insights. One memorable activity involved reaching into a black bag to feel a mysterious object, which served as a conversation starter for discussing product design. Another session used colourful dice to emphasize the role of tactile and visual elements in teaching, highlighting how these tools can enhance the engagement and bring a playful, game-like atmosphere to learning, especially relevant when discussing the equity of student experiences.
References
Acanti tiles are modular, geometrically designed tiles inspired by classical Italian garden pathways, created to offer versatility and a modern aesthetic in architectural applications. Architectural Digest (no date) Acanti tiles by Cristina Celestino for Fornace Brioni. Available at: https://www.architecturaldigest.com/ (Accessed: 07 February 2025).
Orr, S. & Shreeve, A. (2017) ‘Signature Pedagogies in Art & Design’, Art, Design & Communication in Higher Education, 16(3), pp. 331-344. Intellect Ltd. Available at: https://doi.org/10.1386/adch.16.3.331_1.
Willcocks, J. & Mahon, K. (2023) ‘Online Object-based Learning Activities’, Art, Design & Communication in Higher Education, 22(2), pp. 187–207. Intellect Limited. Available at: https://doi.org/10.1386/adch_00074_1.